An Integrated English Course Book 3

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An Integrated English Course Book 3

• Unit Ten

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Learning Objectives

• By the end of this unit, you are supposed to
• understand the main idea, structure of the text
  and the authors writing style
• master the key language points and grammatical
  structures in the text
• consider the different love of the mother and the
  father

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Teaching Procedure

• Pre-reading Questions
• Text I. The Wonderful Lousy Poems
• ? Passage
• ? Structural analysis
• ? Main idea of the passage
• ? Language points
• ? sentence studies
• ? vocabulary studies
• Text II. Dad

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Pre-reading Questions

• 1. Have you ever tried to write a poem?

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• 2. How different is your father from your mother
  in their methods when they try to give you proper
  education?

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Text I. The Wonderful Lousy Poems (abridged)

• When I was eight or nine years old, I wrote my
  first poem.
• At that time my father was a Hollywood tycoon,
  head of Paramount Studios. My mother was a
  founder and prime mover in various intellectual
  projects, helping to bring "culture" to the
  exuberant Hollywood community, of the 1920s.
• My mother read the little poem and began to cry.
  "Buddy, you didn't really write this beautiful,
  beautiful poem!" Shyly, proud-bursting, I
  stammered that I had. My mother poured out her
  welcome praise. Why, this poem was nothing short
  of genius. She had no idea that I had such talent
  for writing. I must write more poems, keep on
  writing, perhaps someday even publish them.

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• I glowed. "What time will Father be home?" I
  asked. I could hardly wait to show him what I had
  accomplished. My mother said she hoped he would
  be home around 7. I spent the best part of that
  afternoon preparing for his arrival.  
• First, I wrote the poem out in my finest
  flourish. Then I used colored crayons to draw an
  elaborate border around it that would do justice
  to its brilliant content. Then I waited. As 7
  o'clock drew near, I confidently placed it right
  on my father's plate on the dining-room table.
• But my father did not return at 7. I rearranged
  the poem so it would appear at a slightly more
  advantageous angle on his plate. Seven-fifteen.
  Seven-thirty. The suspense was exquisite. I
  admired my father. He had begun his
  motion-picture career as a writer. He would be
  able to appreciate this wonderful poem of mine
  even more than my mother.
• This evening it was almost 8 o'clock when my
  father burst in, and his mood seemed thunderous.
  He was an hour late for dinner, but he could not
  sit down. He circled the long dining-room table
  with a Scotch highball in his hand, calling down
  terrible oaths on his glamorous employees. I can
  see him now, a big Havana cigar in one hand, the
  rapidly disappearing highball in the other,
  crying out against the sad fates that had
  sentenced him to the cruel job of running a
  teeming Hollywood studio.

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• "Imagine, we would have finished the picture
  tonight," my father was shouting. "Instead that
  blank blank MORON, that blank blank BLANK
  suddenly gets it into her beautiful but empty
  little head that she can't play the last scene.
  So the whole company has to stand there at 1,000
  a minute while this silly little BLANK walks off
  the set! Now I have to go down to her beach house
  tonight and beg her to come back on Monday."
• My father always paced determinedly as he ranted
  against the studio greats, and now as he wheeled
  he paused and glared at his plate. There was a
  suspenseful silence. He was reaching for my poem.
  I lowered my head and stared down into my plate.
  I was full of anxious daydreams. How wonderful it
  would be if this very first work of mine drove
  away the angry clouds that now darkened my
  important father's face!
• "What is this?" I heard him say.

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• "Ben, Buddy has been waiting for you for hours,"
  my mother said. "A wonderful thing has happened.
  Buddy has written his first poem. And it's
  beautiful, absolutely amaz-
• "If you don't mind, I'd like to decide that for
  myself," Father said.
• Now was the moment of decision. I kept my face
  lowered to my plate. It could not have taken very
  long to read that poem. It was only 10 lines
  long. But it seemed to take hours. I remember
  wondering why it was taking so long. I could hear
  him dropping the poem back on the table again. I
  could not bear to look up for the verdict. But in
  a moment I was to hear it.
• "I think it's lousy," my father said.
• I couldn't look up. I was ashamed of my eyes
  getting wet.
• "Ben, sometimes I don't understand you," my
  mother was saying. "This is just a little boy.
  You're not in your studio now. These are the
  first lines of poetry he's ever written. He needs
  encouragement."

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• "I don't know why," my father held his ground.
  "Isn't there enough lousy poetry in the world
  already? I don't know any law that says Buddy has
  to become a poet."
• I forget what my mother said. I wasn't hearing
  so well because it is hard to hear clearly when
  your head is making its own sounds of crying. On
  my left, she was saying soothing things to me and
  critical things of my father. But I clearly
  remember his self-defense "Look, I pay my best
  writers 2,000 a week. All afternoon I've been
  tearing apart their stuff. I only pay Buddy 50
  cents a week. And you're trying to tell me I
  don't have a right to tear apart his stuff if I
  think it's lousy!
• That expressive vernacular adjective hit me over
  the heart like a hard fist. I couldn't stand it
  another second. I ran from the dining room
  bawling. I staggered up to my room and threw
  myself on the bed and sobbed. When I had cried
  the worst of the disappointment out of me, I
  could hear my parents still quarreling over my
  first poem at the dinner table.
•   

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• That may have been the end of the anecdote but
  not of its significance for me.
• A few years later I took a second look at that
  first poem, and reluctantly I had to agree with
  my father's harsh judgment. It was a pretty lousy
  poem. After a while, I worked up the courage to
  show him something new, a primitive short story
  written in what I fancied to be the dark Russian
  manner. My father thought it was overwritten but
  not hopeless. I was learning to rewrite. And my
  mother was learning that she could criticize me
  without crushing me. You might say we were all
  learning. I was going on 12.
• But it wasn't until I was at work on my first
  novel, a dozen years later, that the true meaning
  of that painful "first poem" experience dawned on
  me. I had written a first chapter, but I didn't
  think it was good enough. I wanted to do it over.
  My editor, a wise hand who had counseled O'Neill
  and Sinclair Lewis and William Faulkner, told me
  not to worry, to keep on going, the first chapter
  was fine. Keep writing, just let it flow, it's
  wonderful, he encouraged me. Only when it was all
  finished and I was in a triumphant glow of
  achievement did he take me down a peg. "That
  chapter may be a little weak at that. If I were
  you, I'd look at it again." Now, on the crest of
  having written a novel, I could absorb a sharp
  critical blow.

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• As I worked my way into other books and plays and
  films, it became clearer and clearer to me how
  fortunate I had been to have had a mother who
  said, "Buddy, did you really write this I think
  it's wonderful!" and a father who shook his head
  no and drove me to tears with his, "I think it's
  lousy." A writer, in fact all of us in life,
  needs that mother force, the loving force from
  which all creation flows and yet the mother
  force alone is incomplete, even misleading,
  finally destructive, without the father force to
  caution, "Watch. Listen. Review. Improves."
• Those conflicting but complementary voices of my
  childhood echo down through the years
  wonderful, lousy, wonderful, lousy like two
  powerful, opposing winds buffeting me. I try to
  navigate my little craft so as not to capsize
  before either. Between the two poles of
  affirmation and doubt, both in the name of love,
  I try to follow my true course.

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Structural analysis

• The text can be divided into three parts.
• Part One (Paragraphs 1-6)
• This is the introductory part of the text. Budd
  wrote his first poem which is hightly praised by
  his mother and was now expecting his fathers
  arrival in excitement, for he was sure his father
  would appreciate his wonderful poem more than his
  mother.

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• Part Two (Paragraphs 7-20)
• In this part, Budds father came home, and
  beyound his expectation, the poem was denounced
  as lousy.

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• Part Three (Para. 21-24)
• In this last part, the author makes a comparison
  between the fathers love and the mothers love.
  He learns that although conflicting, they are
  complementary and in fact, both of them are
  indispensable to his growth.

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• Main Idea of the passage
• The text is a story about the authors past
  experience. While narrating his past experience,
  the author presents to the reader a portrait of
  his father in work, and toward the end of the
  text, he makes a comment of two kinds of forces
  love.

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Comprehension questions

• 1. How did his father respond to Budds first
  poem?
• His mother's response was positive and
  affirmative. She poured out her welcome praise
  and cried that she had not expected that her son
  had such a talent for poetry writing. She
  encouraged the son to keep on writing.

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• 2. Why did Budd look forward to his fathers
  arrival?
• His father was a Hollywood tycoon and began his
  career as a writer. Budd believed that his father
  would be able to discover his talent and
  appreciate his poem more than his mother did.

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• 3. How did his father respond to the poem?
• Quite beyond his expectation, his father at first
  ignored his poem and then, when he did notice it
  and read it, he dropped the poem back and
  declared that it is "lousy," which hurt Budd
  severely.

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• 4. which kind of love was importatn to Budds
  growth, the mothers love or the fathers love?
• Both were important to Budd's growth. The
  mother's love was encouraging and inspiring. She
  encouraged Budd to keep on writing. The father's
  love was strict and stern. His principle in the
  education of the son was to "Watch. Listen.
  Review. Improve." These two kinds of love were
  indispensable in Budd's development. "I try to
  navigate my little craft so as not to capsize
  before either. " That is to say, both his
  mother's affirmation and his fatehrs doubt were
  in the name of love, and Budd followed the course
  between them.

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Language points

• exuberant
• 1) (of people and their behavior) overflowing
  with life and cheerful excitement
• His paintings were full of exuberant color.
• 2) (of plants) growing strongly and plentifully
• The exuberant grouth fo a tropical rain
  forest

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• glow
• to give out heat and/or soft light without
  flames or smoke
• the iron bar was heated until it glowed.
• (with) to show redness and heat, esp. in the
  face, e.g., after hard work or because of strong
  feelings
• She was glowing with health and happiness.
• She glowed with pride at her sons
  achievement.

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• elaborate full of detail carefully worked out
  and with a large number of parts
• She made elaborate preparations for the
  party, and then no one came.
• The curtains had an elaborate pattern of
  flowers.

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• do justice to to treat in a fair or proper way
  to geit the best result from
• She cooked a delicious dinner, but we
  couldnt really do it justice because wed eaten
  too much already.
• She didnt do herself justice in the exam.

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• circle
• I) to move in a circle, especially in the air
  (about / around / round) (over somebody /
  something)
• vultures circling (around) over a dead animal
• 2) to move in or form a circle round (somebody /
  something)
• The plane circled the airport before landing.
• The moon circles the earth every 28 days.

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• oath
• 1) (words used in making) a solemn promise to do
  something or solemn declaration that something is
  true (usually appealing to God, etc. as a
  witness)
• There is a standard form of oath used in law
  courts.
• 2) casual and improper use of the name of God,
  etc. to express anger, surpnse, etc.
• swear-word
• He hurled a few oaths at his wife and walked
  out, slamming the door.

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• glamorous attractive, charming, exciting
• glamorous film stars
• glamor attractive or exciting quality which
  somebody / something has, and which seems out of
  reach to others
• hopeful young actors and actresses dazzled by
  the glamor of Hollywood
• Now that she's an air hostess, foreign travel
  has lost its glamor for her.

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• sentence somebody (to something) to state that
  somebody is to have a certain punishment
• He has been sentenced to three years in
  prison.
• (figurative) a crippling disease which
  sentenced him to a lifetime in a wheelchair

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• blank
• I) without writing or print unmarked a blank
  sheet of paper a blank page
• 2) without expression, understanding or
  interest empty
• a blank expression / face / gaze
• He looked blank. ( He is puzzled. )
• Her questions drew blank looks all around. (
  No one seemed to know how to answer them. )
• 3) (attributive) totalabsolute
• a blank denial/refusal

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• rantto speak loudly, violently or theatrically
• He ranted (on) at me about my mistakes.

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• wheel
• 1) to push or pull (a vehicle with wheels)
• wheel a barrow (along the street)
• 2) to move in a curve or circle
• birds wheeling about in the sky above us Left
  / Right

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• glare n.
• 1) strong unpleasant dazzling light avoid the
  glare of the sun, of car headlights, etc.
• 2) angry or fierce look fixed look give
  somebody a hostile
• glare v.
• 1) to shine with a dazzling, unpleasant light
• The searchlight glared, illuminating the
  prison yard.
• 2) to stare angrily or fiercely (at somebody /
  something)
• He didn't shout or swear, but just glared
  silently at me.

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• hold one's ground to maintain one's claim,
  intention, argument, etc. not to yield or give
  way
• The speaker calmly held his ground in the
  face of angry opposition.
• She held her ground in spite of all the
  counter-arguments.

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• tear apart to destroy or defeat something
  completely to criticize something harshly ms
• The civil war tore the country apart.
• Will his absence tear the whole project
  apart?

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• work up
• 1) to develop or improve something gradually
  work up a business
• 2) to increase something in numbers or strength
  working up the support for the party

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• crush
• 1) to press or squeeze (somebody / something) so
  hard that it breaks or is damaged
• Several people were crushed to death by the
  faIling rocks.
• 2) to break something hard into small pieces or
  into powder by pressing
• Huge hammers crush (up) the rocks.
• 3) to defeat (somebody / something) completely
  to subdue
• The rebeIlion was crushed by government
  forces.
• He felt completely crushed by her last remark.

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• dawn on to gradually become clear to one's mind
  to become evident to somebody
• It finally dawned on me that he had been
  lying.
• The truth began to dawn on him.

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• counsel
• 1) to give professional advice to (somebody with
  a problem)
• a psychiatrist who counsels alcoholics
• 2) to give (the stated advice)
• I would counsel caution in such a case.
• 3) to advise
• He counseled them to give up the plan.

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• take/bring somebody down a peg to make (a proud
  or conceited person) more humble
• The arrogant film star needs/wants taking
  down a peg or two.

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• on the crest of at the point of great success,
  happiness, etc.
• After its election victory, the party was on
  the crest of a wave.

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• echo
• 1) (of places) to send (something) back
• The valley echoed back his song.
• 2) (figurative) (of people, places, etc. ) to
  repeat something to imitate to recall
• They echoed their leader's every word.
• 3) (of places) to repeat a sound (to / with
  something)
• The hills echoed to the sound of laughter.

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• buffet to knock or push somebody / something
  roughly from side to side
• flowers buffeted by the rain and wind
• a boat buffeted (about) by the waves

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• navigate
• 1) to find the position and plot the course of a
  ship, an aircraft, a car etc. , using maps and
  instruments
• Which officer in the ship navigates?
• 2) to steer (a ship) to pilot (an aircraft)
• navigate the tanker around the Cape
• 3) to sail along, over or through (a sea, river,
  etc. )
• Who first navigated the Atlantic?

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• capsize to (cause a boat to) overturn or be
  overturned
• The boat capsized in heavy seas.
• Huge waves can capsize the ship.

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Text II. Dad Andrew H. Malcolm

• The first memory I have of him - of anything,
  really - is his strel was in the late afternoon
  in a house under construction near ours. The
  unfinished wood floor had large, terrifying holes
  whose yawning darkness I knew led where good. His
  powerful hands, then age 33, wrapped all the way
  around my tiny arms, then age 4, and easily swung
  me up to his shoulders to command all I surveyed.
  
• The relationship between a son and his father
  changes over time. It may grow and flourish in
  mutual maturity. It may sour in resented
  dependence or independence. With many children
  living in single-parent homes today, it may not
  even exist.
• But to a little boy right after World War II, a
  father seemed a god with strange strengths and
  uncanny powers enabling him to do and know things
  that no mortal could do or know. Amazing things,
  like putting a

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• bicycle chain back on, just like that. Or
  building a hamsterl cage. Or guiding a jigsaw so
  it formed the letter F I learned the alphabet
  that way in those pre-television days, one letter
  or number every other evening plus a review of
  the collection. (The vowel we painted red because
  they were special somehow. )
• He even seemed to know what I thought before I
  did. "you look like you could use a cheeseburger
  and chocolate shake, " he would say on hot Sunday
  afternoons. When, at the age of 5, I broke a
  neighbor's garage window with a wild curve bal1
  and waited in fear for 10 days to IIlake the
  mnouncement, he seemed to know about it already
  and to have been waiting for something.
• There were, of course, rules to learn. First came
  the handshake. None of those fishy little finger
  grips, but a good firm squeeze accompanied by an
  equally strong gaze into the other's eyes. "The
  first thing anyone knows about you is your
  handshake," he would say. And we'd practice it
  each night on his return from work, the serious
  toddler in the battered Cleveland Indians cap
  running up to the giant father to shake hands
  again and again until it was firm enough.

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• When my cat killed a bird, he defused the anger
  of a 9-year-old with a little chat about
  something called "instinked. " The next year,
  when my dog got run over and the weight of sorrow
  was just too immense to stand, he was there, too,
  with his big arms and his own tears and some
  thoughts on the natural order of life and death,
  although what was natural about a speeding car
  that didn't stop always escaped me.
• As time passed, there were other rules to learn.
  "Always do your best. " "Do it now." "NEVER LIE!"
  And most importantly, "You can do whatever you
  have to do. " By my teens, he wasn't telling me
  what to do anymore, which was scary and heady at
  the same time. He provided perspective, not
  telling me what was around the great comer of
  life but letting me know there was a lot more
  than just today and the next, which I hadn't
  thought of.
• When the most important girl in the world I
  forget her name now turned down a movie date,
  he just happened to walk by the kitchen phone.
  "This may be hard to believe right now," he said,
  "but someday you won't even remember her name.

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• One day, I realize now, there was a change. I
  wasn't trying to please hirr much as I was trying
  to impress him. I never asked him to come to my
  foot games. He had a high-pressure career, and it
  meant driving through most of Fri night. But for
  all the big games, when I looked over at the
  sideline, there was that familiar fedora. And, by
  God, did the opposing team captain ever get a
  firm ha shake and a gaze he would remember.
• Then, a school fact contradicted something he
  said. Impossible that he cc be wrong, but there
  it was in the book. These accumulated over time,
  along with personal experiences, to buttress my
  own developing sense of values. And I could tell
  we had each taken our own, perfectly normal
  paths.
• I began to see, too, his blind spot, his
  prejudices and his weakness. I never threw these
  up at him. He hadn't to me, and, anyway, he
  seemed to need pm tion. I stopped asking his
  advice the experiences he drew from no longer
  seer relevant to the decisions I had to make. On
  the phone, he would go on about p tics at times,
  why he would vote the way he did or why some
  incumbent was a jerk. And I would roll my eyes to
  the ceiling and smile a little, though I hid it
  in my voice.

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• He volunteered advice for a while. But then, in
  more recent years, politics and issues gave way
  to talk of empty errands and, always, to ailments
  friends', my mother's and his own, which were
  serious and included heart disea He had a bedside
  oxygen tank, and he would ostentatiously retire
  there during visits, asking my help in easing his
  body onto the mattress. " You have very strong
  arms," he once noted.
• From his bed, he showed me the many sores and
  scars on his misshapen body and all the bottles
  for medicine. He talked of the pain and craved
  much sympathy. He got some. But the scene was not
  attractive. He told me, as the doctor had. 1 his
  condition would only deteriorate. "Sometimes," he
  confided, "I would like to lie down and go to
  sleep and not wake up. "
• After much thought and practice ("You can do
  whatever you have to do.), one night last
  winter, I sat down by his bed and remembered for
  an instant th terrifying dark holes in another
  house 35 years before. I told my father how much
  I loved him. I described all the things people
  were doing for him. But, I said, hekept eating
  poorly, hiding in his room and violating other
  doctors' orders. No amount of love could make
  someone else care about life, I said it was a
  two-way street. He wasn't doing his best. The
  decision was his.

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• He said he knew how hard my words had been to say
  and how proud he was of me. "I had the best
  teacher," I said. "You can do whatever you have
  to do. " He smiled a little. And we shook hands,
  firmly, for the last time.
• Several days later, at about 4 a. m. , my mother
  heard Dad shuffling about their dark room. "I
  have something I have to do," he said. He paid a
  bundle of bills. He composed for my mother a long
  list of legal and financial what-to-do's "in case
  of emergency. " And he wrote me a note.
• Then he walked back to his bed and laid himself
  down. He went to sleep, naturally. And he did not
  wake up.
• 1 ,189 words

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Main idea of Text II

• The author tells something between his father and
  him. Through his discription, we can see his
  fathers great influence on him and the
  development and change of his feelings towards
  his father. Also the readers can feel the strong
  love and attachment between the father and the
  son.

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Topics for discussion

• 1. Is it still important today for a man to
  display a firm handshake and a steady gaze into
  someones eyes? When would these gestures be most
  import?
• These gestures seem not to be as important today
  as it was in wartime. But anyway, we need a firm
  handshake and a steady gaze under certain
  occasions, for example, when we are in trouble aT
  when we lack some kind of confidence. At this
  moment, a handshake, a gaze or a few words of
  encouragement will inspire us and urge us to
  overcome difficulties and go forward. In the same
  way, when other people are in trouble or meet
  some obstacles, a firm handshake and a steady
  gaze from us will also establish their courage
  and help them pull through difficulties.

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• 2. How do you feel about Malcolns father crying
  with his son when the boys dog was killed?
• A strong man as he was, Malcolm's father cried
  when the boy's dog was killed. For one thing,
  Malcolm's sorrow was too immense to stand. In
  order to comfort him and help him get over the
  sorrow, his father was there, with the son, and
  with tears in his eyes. His father was not as
  cool-blooded as what had been thought of. He was
  a person full of feelings and sympathies. For the
  other, his father thought of the natural order of
  life and death. The dog's unexpected death
  indiCates the unpredictability of life and death.

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• 3. As you grew up, when did you shift from trying
  to please a parent to trying to impress that
  parent?
• Children under ten years old will naturally
  please a parent with their ignorance and naivety.
  They are simple and artless, and often amuse
  their parents with funny words or behaviors. By
  the teens, they seldom want to please a parent
  with childish behaviors, but want to tell the
  parents that they are mature, not only physically
  but also mentally. They feel that they have grown
  up, and that they can do what parents can do.
  They want to impress their parents with what they
  have done. They hope that their parents will be
  proud of them. This question is open for
  discussion. Different students may have different
  responses to this question according to their own
  experiences. Teachers can ask the students to
  give specific examples to show that they are
  trying to impress their parents.

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• 4. How well can a person younger than forty (
  Malcolms age ) understand the problems involved
  in a parents afing and dying?
• A person younger than forty may not have such a
  deep but sober-minded understanding as Malcolm
  has. Young people take it for granted that their
  parents will look after them all their lives, and
  will provide them with food, clothing and
  shelter. They hardly think of the fact that their
  parents will become old and one day one of them
  will die. This question is open for discussion.

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• Words and Expressions for Text I
• lousya. (informal) very bad, unpleasant,
  useless covered with lice
• tycoonn. a businessman or industrialist with
  great wealth and power
• exuberanta. (of people and their behavior)
  overflowing with life and cheerful excitement
  (of plants) growing strongly and plentifully
• proud-burstinga. full of pride with overflowing
  pride

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• stammerv. to speak or say with pauses and
  repeated sounds, either habitually or because of
  excitement, fear, etc.
• glowv. to give out heat and / or soft light
  without flames or smoke to show redness and
  heat, especially in the face, e.g., after hard
  work or because of strong feelings
• flourishn. a showy movement or manner that draws
  people's attention to somebody
• crayonn. a stick of colored wax or chalk used
  for writing or drawing, especially on paper
• suspensen. a state of uncertainty about
  something that is undecided or not yet known,
  causing either anxiety or sometimes pleasant
  excitement

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• exquisitea. very finely made or done extremely
  beautiful or skillful (of power to feel)
  sensitive and delicate
• highballn. an alcoholic drink, especially
  whiskey or brandy mixed with water or soda and
  served with ice
• oathn. a solemn promise an expression of strong
  feeling using religious or sexual words
  improperly
• rantv. (usually derogative) to talk in a loud,
  uncontrolled way, using grand but meaningless
  phrases

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• verdictn. the official decision made by a jury
  in a court of law at the end of a trial,
  especially about whether the prisoner is guilty
  or not guilty (informal) a statement of opinion
  judgment or decision given on any matter
• soothev. to make less angry, excited, or
  anxious to comfort or calm to make less painful
• vernacularn. the language spoken in a country or
  region, especially as compared with the official
  language
• bawlv. to shout in a loud rough voice to cry
  noisily

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• staggerv. to walk or move unsteadily and with
  great difficulty, almost falling
• anecdoten. a short interesting or amusing story
  about a person or event
• dawnv. to begin to be perceived or understood
• counselv. (formal) to advise as a suitable
  course of action to give advice and support
  (especially somebody experiencing difficulty)

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• triumphanta. victorious or successful taking
  great pride and joy in one's success or victory
• pegn. a short piece of wood, metal, etc.,
  usually thinner at one end than at the other,
  used for fastening things, hanging things on,
  etc.
• crestn. a showy growth of feathers on top of a
  bird's head the top or highest point of
  something, especially of a hill or a wave

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• buffetv. to strike forcefully or repeatedly
• navigatev. to direct the course of (a ship,
  plane, etc.) to go by sea, air, etc. from one
  side to the other (of a place)
• capsizev. (especially of a boat) to turn over

63

• Notes for Text I
• 1. About the author and the text Budd Schulberg
  (1914 - ), American novelist, short story writer,
  screen writer, and contributor to major national
  magazines, is the author of What Makes Sammy Run
  (1941) , The Disenchanted (1950) , and On the
  Waterfront (1954). The son of "a Hollywood
  tycoon," Schulberg invests the above
  auto-biographical account with the drama of film
  community life in the 1920s, even as he finds in
  a childhood crisis the sources of the creative
  process.

64

• 2.My mother was a founder and prime mover in
  various intellectual projects... (Paragraph 2)
  My mother was one of those who engaged in the
  establishment of various intellectual projects,
  and she had great influence in the development of
  these projects. Here, "prime mover" refers to a
  person or thing that has great influence in the
  development of something important.

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• 3. Why. this poem was nothing short of genius.
  (Paragraph 3) Oh, this poem showed that you had
  talent for being a poet. Here, "nothing short of"
  is used to add force to a statement, meaning
  "nothing less than," "as good as.
• 4. ... my father held his ground. (Paragraph 17)
  ... my father maintained his argument he
  insisted that my poem was "lousy. "
• 5. that she could criticize me without crushing
  me. (Paragraph 21) ... that she could judge my
  poem with disapproval and point out its faults,
  but not discourage me and destroy me.

66

• Notes for Text II
• 1. about the author Andrew H. Malcolm was born
  in 1943 in Cleveland, Ohio. He studied journalism
  at Northwestern University and then joined The
  New York Times in 1967 as a news clerk. He worked
  as a reporter for The New York Times in New York,
  Chicago, and San Francisco and as a foreign
  correspondent for the newspaper in the Far East
  and Toronto before being assigned to Chicago as
  bureau chief in 1982. He has won major awards for
  reporting, and is the author of Unknown America,
  published in 1975.

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• 2. It may grow and flourish in mutual maturity.
  It may sour in resented dependence or
  independ"nee. (Paragraph 2) The relationship
  between a son and his father will be getting
  better upon their mutual understanding and
  tolerance. But if their dependence on each other
  or independence of each other develops hatred or
  indignation between them, the relationship
  between the father and the son may be destroyed.
• 3. hamster (Paragraph 3) ??

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• 4. None of those fishy little finger grips, but a
  good firm squeeze accompanied by an equally
  strong gaze into the other's eyes. (Paragraph.S)
  In handshaking, father did not grip a person's
  hand with his fingers that were expressionless,
  but squeezed a person's hand firmly, with his
  eyes looking at the other steadily and strongly.
• 5. I wasn't trying to please him so much as I was
  trying to impress him. (Paragraph 9) When I was
  getting old, I was trying to leave him a strong
  impression by what I had done I was trying to do
  something so as to have my father proud of me and
  of what I did. I no longer did some childish or
  naive mischief to please him.

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• 6. ... or why some incumbent was a jerk.
  (Paragraph 11) ... he explained to me why he
  thought the person in power was a foolish and
  incapable one.
• 7. No amount of love could make someone else care
  about life, 1 said it was a two-way street. (
  Paragraph 14) No matter how much I love you, my
  father, no one but you can take care of yourself.
  If you do not take good care of yourself and make
  your life more comfortable in a healthy way, it
  amounts to nothing even if I try to change your
  way of life unilaterally. You should also make
  efforts to change your way of life.